Monthly Archives: July 2017

On Tuesday, July 18 Montrealers lined up eagerly outside La Sala Rossa for the long awaited Thurston Moore Group and Jessica Moss show. For those who don’t know, Thurston Moore is a singer, songwriter and guitarist for Sonic Youth, one of the most influential rock bands of our time, thanks to their unconventional guitar tunings and experimental use of objects like screwdrivers and drum sticks to alter tone quality. The audience that night was full of Sonic Youth lovers who had come to see a living legend.

Starting the night off was Jessica Moss, a local violinist who also plays in Thee Silver Mt. Zion Memorial Orchestra and Black Ox Orkestar. Moss played a single 25 minute piece which told the story of a refugee traveling from danger to safety, her presence majestic as shemanipulated an array of pedals with her bare feet and hands. Stacks of echoing loops and distortion on her violin and voice created an intensely entrancing experience for the ears, while Moss’ melancholic repetitions of the words “entire populations” served as a stark and heart-wrenching reminder of the piece’s subject matter. As the layers and signal-bending folded and unfolded, I felt a sense of relief, like one may feel when they finally see land after a long time at sea. With one piece, Moss took the audience on a beautifully haunting sonic and emotional journey.

Thurston Moore Group took the stage next. Seeing Moore live for the first time was an experience I will never forget. I knew he had a unique way of playing guitar, but watching it in real time was breathtaking. Moore used his guitar fully, from the output jack to the bridge and all the way up to the headstock, gently and rhythmically tapping it with his fingers to further distort the timbre of the sound. He wasn’t the only living legend on stage that night, though – My Bloody Valentine’s Debbie Googe was shredding and delivering heavy bass lines in sync with part-time Sonic Youth and current Sun Kil Moon drummer Steve Shelley.

The group played tracks off their new album Rock N Roll Consciousness, a record that very pleasantly sounds like something Sonic Youth could have released. Beyond his astonishing guitar-work, Moore was also as political as ever. On “Cease Fire,” a song off the new album, he denounced guns and empowered love to rule. While introducing the song, Moore revealed that he first played Sala Rossa years ago for an anti-Bush show. “Is there a difference between a corporate take-over and a political take-over?” he wondered aloud. “I don’t think so. Well, we’re here for a free love take-over.”

At the end of the show, the merch table was surrounded by a large mass of fans while Moore signed records. I was lucky enough to get my hands on one of the last albums and exchanged a few words with Moore about the rise of extremist right wing groups and the need for organized actions, offering him one of my ‘FCK NZS’ stickers. “Yeah I’ll take that!” he responded, “I’ve seen the t-shirts around!” I would be lying if I said I’m not hoping he puts it on one of his guitars. I left the venue that night sonically satisfied, feeling an after-buzz that stuck with me for several days – a free-love takeover, indeed.

The July 16 Institute show at Casa del Popolo was solid proof that punk rock is alive and well in our fair city. When I arrived that night, punk lovers from all over Montreal were pouring into the intimate venue, until the show sold out and the sweat started dripping. The excitement and energy of audience and musicians alike was palpable, a comforting sense of camaraderie in the air as friends reunited and encouraging words and hugs were exchanged.

Montreal’s Beep Test started the night off with a short set of synthy no-frills punk. They got the crowd warmed up for Faze, another local group who hit the ground running with their in-your-face-in-a-good-way moshpit pleasers. Faze’s vocalist had a seemingly endless supply of energy, making it hard to look away as he elegantly squatted across the stage, his eyes rolling to the back of his head after a body-shuddering growl. The guitarist’s riveting tweaking of effect pedal knobs only added to the raw beautiful chaos. Next in the line-up was Grosser, a group of Calgary emigrants and Montrealers who addressed local issues on tracks like “Bylaw Compliance” and “Condo Board.” The frontman’s enthusiasm was contagious as he busted out into the crowd, triggering a pulsating moshpit around him. Unfortunately, this was Grosser’s last show before the members move on to new projects.

The room was packed by the time Institute came on, and the Austin, Texas band did not disappoint. They played mostly tracks from their new album Subordination, songs that stick to the band’s anarcho-punk roots but add more depth, distortion and overdrive, making them hard to label as a particular genre and all the more interesting to see live. Institute’s musical skill, smart politically infused lyrics, memorable stage presence, and endearing modesty definitely made for one of the best live punk acts I have seen in years. I spoke with guitarist Arak Avakian after the show and, when asked what he would like to say to the world, he responded that “hard work does not equal hard rock.” After witnessing Institute’s hard work in person, I left the show with the reassuring sense that, despite the state of the world, things might be ok as long as bands like Institute are still filling venues and challenging the status quo.

I was lucky enough to catch fantastic Montreal expats Steve Jr (above) last week — they don’t make it up here very often and they totally killed it, as per usual. The night afterwards I also got to see Vancouver punks Cloaca rip it up with locals Rivalled Envy and Total Bliss… trying to get my fix of live music before I head out west to hang in the country with family for a bit. And that bring us to, yep, you guess it, VACATION ALERT: I will not be in the office from July 20th – 31st inclusive. Email if you like, but I will have limited internet access out on Anarchist Mountain. Charts and tracking will resume when I’m back in town. Thanks in advance for your cooperation in helping me and my inbox get a bit of chill time this summer.

I couldn’t have picked a better way to celebrate America’s birthday. Kicking things off was Cende: simple, no-nonsense pop music played at a deafaning volume. Bouyed by their youthful energy and unpolished style, they ripped through a short set of formulaic yet enjoyable tunes. Following up, Japanese Breakfast slowed it down a notch with their slinky psych jams, tasteful bass riffs and shiny synth bouncing around underneath the ever-yearning lead vocals.

When the hour was upon us, the chorus of ‘Life is a Highway’ rattled the Ritz soundsystem as Alex and his band rolled onstage. The music hit fast and hard, coursing through the audience and uniting the room within moments with an impressive sense of command, especially for such a relatively young group. The majority of the set was dedicated to his latest album Rocket, including the early standout track ‘Bobby’ and its welcome addition of fiddle to the band’s instrumentation. Though much gentler on the album, the live addition of a stomping drumbeat allowed the song to hit even harder than I thought possible, leaving the crowd torn between head-bobbing and slow-dancing.

The songs are chunky and essential, like semi-polished stones, always build around the core of Alex’s raw voice. He sings mostly through clenched teeth, every measured note spat out, hints of the reserved energy that’s being held back. Only once did the dam breach, during an incredible rendition of ‘Brick’ — an explosive track in which he suddenely erupts in a scream as the guitars howl and rage only to drop away after a minute, giving way to the next piano-driven ballad.

Being an avid listener for years and having followed the group for some time, I can vouch that the presence of 2017 (Sandy) Alex G is immediately undeniable. The band is at its most fluid, less buttoned-down than ever, and with a masterful command of Alex’s expansive discography. They closed out the set by spending near half an hour just taking requests from the audience, not once balking at a buried gem from the depths of his Bandcamp but rather dropping into it confidently at a moment’s notice. The generosity of this final act may have dragged on too long for those less invested in the music, but for the fans it was glorious.

I’ve been lying low over the past week fighting a gnarly cold (do they feel extra wicked in the summer, or is it just me…?)
However, I did make it out for a rad show last week celebrating a friend’s birthday, featuring ßtaß (above) and many others — it was a pretty all-star local crew fitting of the special occasion. Definitely worth leaving the house for!

xo
joni

:::WHAT’S UP AT CKUT:::
For the month of July, local music-makers and pigeon enthusiasts Parker Finley, Sydney Lee, Rachel Nam, and Jess ManniquinHead (of MagicPerm and Lonely Boa) are hosting the Montreal Sessions. Tune in for a playlist chock full of local bands, ranging from chillwave to new wave to no wave and more. The series will also featuring live performances by Respectful Child, Lonely Boa, and plenty of others that you’ll need to tune in to catch… You know what to do: listen live each Tuesdayfrom 3-5pm, only on CKUT 90.3 FM and ckut.ca

I decided to take a page out of Kendrick Lamar’s book with this article. Much like the Compton rapper did with his fourth studio album, DAMN., after completing my first three pieces for CKUT, I took more time than usual to craft the latest instalment of Free Samples. (The fact that I was on vacation for the past two weeks with limited wifi access obviously had nothing to do with it). However, unlike DAMN., I doubt this article will go on to win a slew of awards, sell millions of copies, or leave a lasting impact on its genre and pop culture as a whole. Just a hunch.

Known for his clever lyricism and bold subject matter, Kendrick has sampled everything from a 2015 Fox News report to Bruno Mars’ “24K Magic,” making him one of the most unique and prominent voices in rap today.

Almost a parody of sorts, Kendrick puts his own spin on Jay-Z’s love letter to the Big Apple. Borrowing the beat and hook from the smash hit featuring Alicia Keys on vocals, Kendrick paints a gritty picture of the notorious LA suburb, while also making it clear that he’s “just a good kid hoping [he] can spread love.” Kendrick reworks the chorus of Jay-Z’s track from “In New York/Concrete jungle where dreams are made of/There’s nothing you can’t do/Now you’re in New York/These streets will make you feel brand new/Big lights will inspire you” to “Compton, concrete jungle where dreams are made of/There’s nothin’ you can’t do/Now you’re in Compton/These streets will make you or break you/Expire or inspire you.” Continue reading →

Montreal was lucky enough to get a repeat appearance from Les Filles de Illighadad last week, joined by a special guest drummer from Mdou Moctar’s band. Gig of the year? It definitely set the bar pretty high…